You are standing in an open eld west of a white house, with a boarded front door. There is a small mailbox here.

>open mailbox Opening the small mailbox reveals an invitation.

>read invitation “WELCOME TO ARCHAEOGAMING! ARCHAEOGAMING is a game of adventure, danger, and low cunning. In it you will explore some of the most amazing territory ever seen by mortals. No computer should be without one!”

>|

The blinking cursor at the beginning of an interactive text adventure held all the expectation in the world. A universe of words waited for you, and simple commands propelled you headlong into a maze of spoonerisms, chasing ghosts, solving puzzles; the blinking cursor could lead you to meet Zaphod Beeblebrox or get eaten by a grue. Zork – the game referenced above – seemed endlessly complex, sending you to Hades and back for treasure. It is within this breathless anticipation of fun that we find archaeogaming, a term usefully coined by Andrew Reinhard. Archaeology’s constant collisions with digital media, storytelling, and co-creation made this eventuality inevitable, and archaeologists are rapidly forming the lexicon for understanding how to speak ludology. I find Janet Murray’s germinal Hamlet on the Holodeck (1997) essential to this discourse; archaeogaming and other expressive forms of digital archaeology are what Murray terms as incunabula, an infant medium, untested and unwise in methodology and scope. Perhaps this is why they are so compelling….

Gareth Beale & Paul Reilly’s session at TAG was filmed by Doug Rocks-MacQueen’s team of conference videographers, for which I am grateful. There are a host of great papers from that day from Jeremy Huggett, Paul Reilly & Stefan Gant, Rose Ferraby, Catriona Cooper, Nicole Smith, Tanya Freke, and more!

Watch all of those other presentations first, and then watch mine on queering digital archaeology: